The fish shape building you are seeing here is  the Nativity Church Competition Entry, It’s from Mexican firm Pascal Arquitectos. The followings are from the architect;
•    Design  considerations

-    Our intention is to create a recognizable object, its shape comes from a fish, and the exterior covering reminds of scales.
-    We decided not to put the picnic area in the bridge, it is nicer to have a picnic on the grass, besides it would make it too expensive and it would be too wide. We created a picnic garden outside the plaza , just upon arrival form de bridge and stairs, it has a view to the lake and it is shaded by big trees, and at the same time it is adjoining but not together with the plaza events.
-    The green wall in the Plaza creates a contained place and together with the shadow of the church it generates a microclimate, it acts like a veil which allows discovering through it the surrounding landscape.
-    Parking is possible under crypts with direct access from west side.
-    The crypts are like a library, a maze you can walk or stroll.
-    All the building is ADA accessible, even without the use of mechanical devises.
-    Sustainability and emphasis on Culiacan weather condition is a considered in all of the design.
-    Three-dimensional modulation is based on a 4 ft by 4 ft grid , this guarantees order, coincidences, besides there is no waste all the material is used at it maximum expression allowing the acquisition of better material.
-    The design is based in a series of structural frames  that create grids where all the other materials are hanged, screwed or attached in a mechanical way, allowing the service replacement and access to inner wiring plumbing etc. and also setting a job process of installing bases on prefabrication instead of jobsite construction.
-    The stained glass presbytery is a fundamental part of the architecture; I fuses into it, and is part of the structural support of the building besides being recognizable from the outside.
-    We added a fire pit on the centre of the plaza to provide heat in cold nights and also as a gathering point.

•    Furniture and accessories
-    Furniture and accessories design will follow same geometrical theme as the architecture.

•    The Bridge
The bridge must not compete with the church, so it is going to be made of the lightest possible steel structure and glass enclosure, being the bottom of it done in a double translucent glass layers that are lit at night.

•    Nativity Altarpiece

The Nativity is proposed as a large thematic stained-glass window drawing that also works as the structural piece that holds this church area. The colours used in this work have a symbolic and decorative function as well.

In this case, the Nativity altarpiece is formed by two panels with narrative continuity; on the left side (seen from the inside of the church) includes the holy child in the crib, the Virgin Mary, the midwife and the angels.

Child Jesus crib is at the same time the womb that, by its colour, is associated to the light that “illuminates us” and to the nourishing earth, represents the world to come and life foundation.

Virgin Mary, accompanied by the midwife symbolizes the feminine and maternal side, the feelings, the wisdom of grace and the beauty. The virgin has a blue robe that relates her with heaven. On the other hand, both feminine figures are bound by the red colour that refers to life origin.

Joseph, shown like a pilgrim that has made a long walk, represents willpower, intelligence and compassion.

The scene were child Jesus, Virgin Mary and Joseph appear, seems to take place in an interior space, while the rest of the story happens on the outside.

The right hand panel represents the masculine and the action world, including the shepherd, the animals and the three Wise Men guided by the star.

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Project: New Branch of the Cooperative Credit Bank
Location:Fossano, Italy
Architect: Kuadra Studio

A cascade of chains on the facade, dynamic space, mobile, changing, not what you would expect from a bank, especially in a province at the foot of the Maritime Alps. The branch of this Credit Agency, winner of a closed competition, brings a breath of lightness and a levity that would be more common in a completely different sort of building; an exhibition centre or a performance venue, for
example.

Photos courtesy Kuadra Studio

This bank is stripped of that entire traditional image which characterises an institution of this type and instead presents a new unedited image of itself. Surprising and innovative outside, intimate and welcoming inside.

Although made up mainly of young people, the Kuadra studio of architects knows how to obtain the very best from the materials they use with rigor and finesse. Glass, metal and stainless steel are all combined in a clever alchemy that highlights consistency, form, quality and singularity, while never neglecting composition, which remains precise and clean.

The best way to fulfill the needs of the future customers and employees are constantly taken into consideration during the process of the project. Strips of light, transparent staircases and pathways at different levels mean that clients in this bank will not be limited to cueing at the teller’s counter. They will have an opportunity to experience an architectural quality that Le Corbusier christened Architectural Promenade.

Photos courtesy Kuadra Studio

The architecture seems like an ode to clarity, transparency, to conceptual essence itself, while at the same time never losing sight of that direct functional relationship with the public, not just words from a bank worker’s manual, but the real public; an old man, a parent a child, all with differing needs. There is a wide, luminous open informal space given over to a children’s’ play area, quite a novelty in a bank, besides the obligatory comfortable sofas at the entrance. Wherever one goes from the counters to the meeting rooms one is breathing in that atmosphere of ordinary domesticity that never descends into the banal or predictable.

Photos courtesy Kuadra Studio

The inclusion of the chains on the façade, 11 linear kilometres, are no mere stylistic or aesthetic pretence, no external second skin. The idea is much more considered. The whole building, changes, shimmers and modifies its physical consistency. The curtain of chains hanging from on high fluctuates lightly letting off a gentle ringing, like Tibetan prayer bells. It captures the light bringing it inside, moulding it, and changing it, thus transforming the massive potentially heavy interior so that the whole building becomes a gigantic semitransparent lamp. In direct sunlight they act as protective sunshades.

Functionality and poetry combined naturally, without being pretentious. The result is surprising.

NB. This project won the “Vuoto a Colmare” competition organised by The Architectural Engineers of Turin and dedicated to work of young up and coming architects.

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Project: MYU restaurant/bar
Architect: PAUL KALOUSTIAN
owner: JOE MOURANI
location: Gemayze, Beirut
Area: 140m2
Photo courtesy Paul Kaloustian Architect

Located in the iconic night life district of Beirut, the MYU bar/restaurant inhabits an old small liquor factory. The design concept is based on creating 2 separate spaces of bar and restaurant defined by 2 vaults different in scale. These vaults which form a room within a room are made of stretch black fabric that is translucent.

Photo courtesy Paul Kaloustian Architect

The original space is kept as found with graffiti and traces on walls and ceiling. The indirect cold cathodes lighting is dimmable thus allowing the space within the vaults to become darker and more defined once the light is dimmed. The restaurant and the bar communicate by a large “window” allowing people to connect visually.

Photo courtesy Paul Kaloustian Architect

Photo courtesy Paul Kaloustian Architect

Photo courtesy Paul Kaloustian Architect

Info about Paul Kaloustian:
After graduating from the GSD Harvard and working for Herzog and de Meuron, PAUL KALOUSTIAN ARCHITECT was established in 2002 in Beirut.

Spanish architects firm, VAÍLLO & IRIGARAY + EGUINOA, has sent us the Audenasa office building project. It floats along the twisted-line gesturing the topography with interesting facade & interplay with natural lighting. Here is from the architect;
Photo courtesy VAÍLLO & IRIGARAY+EGUINOA

The building offers an image derived morphological genesis of his own: a tablet suspended, almost floating on the gentle slope green -slightly twisted-repeating the same gestures that the topography and offers a gesture of successive concave ribs against the sun: In a flat landscape almost one-dimensional, as is the highway, immeasurably longitudinal, the building from where it controls and directs the company, contorts, and stands as lookout (also longitudinal), as a new “lookout” observer . Two slabs of concrete lattice steel tape the cor-ten blocks south and north reused tire. The picture of the complex aims to establish close ties to the movement and infrastructure relating to transport, and perhaps away from the usual urban readings in similar programs.

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OFFICE BUILDING AUDENASA
MAINTENANCE AREA OF NOAIN

TECHNICAL SHEET

architects:    VAÍLLO & IRIGARAY + EGUINOA
Antonio Vaíllo i Daniel – Juan L. Irigaray Huarte
Project manager: David Eguinoa Erdozain, architect

c/Tafalla 31 Bajo. Pamplona
T: 948 29 00 54 F: 948 29 03 03
e-mail: estudio@vailloirigaray.com

colaborators:      Daniel Galar, architect
Lucia Astrain, architect
Luis Miguel Navarro, engineer
Oscar Martínez, draftsman
Ángel Álvarez, draftsman
Juan Carlos de la Iglesia, draftsman
Isabel Franco, administration

consultants:    Rigger: Iñaki Pérez
Structural engineering: Tadeo Errea- LANDABE
Facade engineering: LARUMBE (celosía); ALTRES (aluminum)

promoter:    Audenasa

constructor:    Eycons

project:        June 2007
beginning:    June 2008
finished:                  April 2009

Choi+Shine Architects has sent us “Land of Giants” the honorable mention award from Icelandic High-Voltage Electrical Pylon International Design Competition as well as Award Winner of 2010 Boston Society of Architects Unbuilt Architecture

About The Design

The project was initially submitted for a 2008 competition held by the Icelandic power transmission company, Landsnet, in conjunction with the Association of Icelandic Architects.  The submitted design consisted of a single male pylon-figure as shown in the images and description on the file “Choi+Shine – pylon competition document (small)” and on the submitted board “Choi+Shine – pylon comp board (press)”.
Image©Choi+Shine Architects

The Icelandic jury awarded the design an honorable mention. At the award ceremony Landsnet asked Choi+Shine to submit the design of the female pylon-figure, which was shown as a sketch on the competition board.  Landsnet expressed interest in building the male and female pylon-figures as functioning monuments at the gateway to Reykjavik. Perhaps due to Iceland’s unfortunate economic crisis, the pylon-figures have not (yet) been constructed. The male and female pylon-figures were sent to Landsnet in 2009. A patent was granted for the design submitted to the Iceland competition. In June of this year, the male and female pylon-figures won one of the Boston Architects Unbuilt Architecture Awards  (http://www.architects.org/design_awards_programs/index.cfm?doc_id=274).  The description and details of the project can be seen on “Choi+Shine – Project Description 2″. Choi+Shine is still hopeful that the pylon-figures may be built.

Description of the Design

Making only minor alterations to well established steel-framed tower design, Choi+Shine has created a series of towers that are powerful, solemn and variable. These iconic pylon-figures will become monuments in the landscape. Seeing the pylon- figures will become an unforgettable experience, elevating the towers to something more than merely a functional design of necessity.

Image©Choi+Shine Architects

The pylon-figures can be configured to respond to their environment with appropriate gestures. As the carried electrical lines ascend a hill, the pylon-figures change posture,imitating a climbing person. Over long spans, the pylon-figure stretches to gain increased height, crouches for increased strength or strains under the weight of the wires. In addition, the pylon-figures can also be arranged to create a sense of place through deliberate expression. Subtle alterations in the hands and head combined with
repositioning of the main body parts in the x, y and z-axis, allow for a rich variety of expressions. The pylon-figures can be placed in pairs, walking in the same direction or opposite directions, glancing at each other as they pass by or kneeling respectively, head bowed at a town.

Image©Choi+Shine Architects,Background image © Thomas Ormston used under the cc license.

Despite the large number of possible forms, each pylon-figure is made from the same major assembled parts (torso, fore arm, upper leg, hand etc.) and uses a library of pre-assembled joints between these parts to create the pylon-figures’ appearance. This design allows for many variations in form and height while the pylon-figures’ cost is kept low through identical production, simple assembly and construction. The pylon-figures are designed to provide supports for the conductors, ground wires and other cables all within required clearances. These clearances are maintained in the various shown positions. The towers are largely self-supporting, sitting on concrete footings, perhaps with the addition of guy wires, depending on requirements of the loading wires.

Image©Choi+Shine Architects

Like the statues of Easter Island, it is envisioned that these one hundred and fifty foot tall, modern caryatids will take on a quiet authority, belonging to their landscape yet serving the people, silently transporting electricity across all terrain, day and night, sunshine or snow.

TREE HOTEL in HARADS (2008-)
Architects: Tham & Videgård Arkitekter.
www.tvh.se
Responsible architects: Martin Videgård and Bolle Tham.
Collaborator: Mia Nygren.
Client: Brittas Pensionat, Britta Lindvall and Kent Lindvall, www.treehotel.se.

A tree hotel in the far north of Sweden, near the small village of Harads.
Site Plan courtesy Tham & Videgård Arkitekter

The starting point is to create a shelter up in the trees; a lightweight aluminium structure hung around a tree trunk, 4x4x4 meters boxes clad in mirrored glass. The exterior reflects the surroundings and the sky, creating a camouflaged refuge. The interior is all made of plywood and the windows give a 360 degree view of the surroundings.

Photo courtesy Tham & Videgård Arkitekter

The tree hotel concept meets the increasing interest in wild life-/eco tourism where one encounter and experience the pristine nature of Sweden.  The functions included provides for a living for two people; a double bed, a small kitchenette and bath, a living room and roof terrace. Access to the cabin is by a rope ladder or a rope bridge connected to the next tree.

Photo courtesy Tham & Videgård Arkitekter

To prevent birds colliding with the tree hotel, a transparent ultraviolet colour, visible for birds only, will be laminated into the glass panes.

Photo courtesy Tham & Videgård Arkitekter

The tree hotels will be managed by the Brittas Pensionat (a small hotel nearby) that will also cater for and offer additional services and support. The project is currently in progress and the client, Brittas Pensionat, is planning to have the six first cabins completed in 2010.

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Private commission, 2009 – ongoing

Looking out, seeing people come and go while trees are standing still, witnessing the change of scenery season after season. Street poles spanning across the narrowest allies, providing mysterious connections between houses. Window view becomes an extension to the outside world. It measures time quietly.

Image courtesy Cheungvogl

The two houses, standing side by side, related and yet separated. Its outline traces back years of history within the context. Simple detailing, rough concrete and aged timber are elements that tie the two houses together. Within them, store calmness.

Inside the house, the connection to the outside is reduced down to two linear courtyards. Framing ‘the tree’ standing on a sheet of white gravel, absence from the city’s influence, quietly documenting time. Contrary to the ground floor, the pitched roof is a small space enclosing the stair leading to an undefined open room -  the roof itself. Three meter above ground, the city skyline seems almost tangible. Looking back, ‘the tree’ – is standing still.

Image courtesy Cheungvogl

The project,

2 houses in Tokyo is a private development that consists of 2 almost identical houses, occupying 2 identical plots. House 2a is to be occupied by the client, a Japanese-German couple, based in Tokyo. House 2b is for sale. The client’s requirements are clear.

Calm, but not sterile.
Humble, and yet unexpected.
Economical, nothing extravagant.
Open space with flexible floor plans and a space to contemplate.

Image courtesy Cheungvogl

By the choice of materials like fair-face in-situ and pre-cast concrete, industrial finished flooring and local construction techniques with simple details, the project stays under budget. This opens up opportunities to custom design furniture pieces as prototypes for House 2a, such as the kitchen unit, the dining table, the courtyard bench and the floor-sitting-couch.

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The architects

Cheungvogl is a young international architectural practice founded in 2008. The design studio is based in Hong Kong and led by Chinese-Canadian architect Judy Cheung and German architect Christoph Vogl.

www.cheungvogl.com

New Tamayo Museum overlooking Mexico City from BIG on Vimeo.

The main concept of MUSEO TAMAYO EX-TENSION ATIZAPAN is an “OPENED BOX” that unfolds, opens and invites the visitors inside. Package, restoration and storage will serve as additional cultural spaces for visitors to understand the stages that an art piece goes through in order to get to its specific destination. This is a very direct, strong and symbolic project. Where the shape derives from the client’s preliminary studies that defined the optimal functionality and was then enhanced by taking advantage of the best views from above, making the best of the steep terrain and shading the more social program below, exterior and interior spaces overlap to provide the best environment possible for each function, and optimal climatic performance

DESIGN ARCHITECT : STUDIO IDE
BRIEF
Complete rehab of a 550 sq.ft. space
STATUS
Completed 2010
All Photo©Candice C. Cusic

This small studio unit was designed by Vladimir Radutny and Paul Tebben with STUDIO IDE as an austere pallet of overlapping spaces and expressions. Subservient to the Client’s unique portfolio of Pop Art lithographs, the functional elements of open apartment living are hidden from view, allowing one to feel as though they’ve stepped into a gallery space wired for living rather an apartment space equipped to display art.

The unit’s only aperture opens to the north, framing Chicago’s iconic Lake Shore Drive; a view which seams together the dynamic composition of the undulating high-rise buildings with the fluidity of Lake Michigan. The image of these two worlds drove the organization of the unit’s interior. The sculptural interweaving of form and space speaks of the incidental voids amidst the City’s oscillating texture below.

Alternatively, the Client’s art collection is choreographed along the space’s west wall, becoming a spectacle of tranquility, a moment of pause similar to the calm found in looking onto the lake. The rare 2-sided lithographs are wall-mounted on hinged frames, offering the Client and his guests the ability to take all fragments in at once. Each time the work is engaged, the configuration changes. Over time, the wall shifts, adjusts and moves, becoming a real-time expression of the interplay between the viewer and his/her surroundings.

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Daycarecentre Willem Felsoord designed by Möhn + Bouman architekten, The project concerns the extension and renovation of an existing daycare centre for mentally disabled, situated in a natural wetland area near Delft, the Netherlands. The complicated limitations of the patients make the sensory and tactile quality of the building a key issue in the design process. The emotional wellbeing of this specific group and their ability for orientation is greatly determined by the building, both in shape, lighting and the use of materials. Every day, around 70 people between the age of 15 and 65 are visiting the centre.
Photo©Bart van Vlijmen

The extension is located on the backside of the building and forms an organic shape that is cladded with thatch. By using this natural material, the building dissolves into the garden and woodland surrounding it. Also, the use of thatch allows the covering of the irregular shape and serves as a sustainable material with very high insulation specifications due to the air pockets within the reeds. The thatch is applied according to a modern system, in which the reeds are bound on a closed wooden surface. This prevents fresh air from reaching the backside of the thatch. In this manner, an improved thermal insulation is obtained as well as a reduced fire hazard. Along with preventive coatings, the fire risk of the building is now equal to that of a brick building.

Photo©Möhn + Bouman architekten

The facades of the existing part are treated in two different ways. Those facing the public space are clad with silk-screened glass, based on a manipulated image of a thatch roof. The adjacent facades can only be perceived in perspective and are covered with a grid of thermally treated pinewood. This grid reacts on the forms of the thatch facade and is continued across all glass facades of the  building, uniting old and new.

Photo©Bart van Vlijmen

Between two parts of the old building, a new entrance has been built. In the entrance hall, both the thatch-facade and the pine-wood facade are continued into the interior, ending in the form of a huge sky-light hovering over the reception desk.

In the garden, subtle height differences are introduced in order to give the clients a safe feeling and prevent them from running off or starting to wander around the building. By doing so, less visible fences are needed around the building, allowing the open and transparent atmosphere that suits a building with this specific function.

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